Le Diptyque portrays archetypal female figures from the world of fantasy and representation. Condemned to wandering, as if locked into a certain temporality, L'Épouse et La Ménagère emerge from the clash between the gesture and the need to remain in representation. The obsolescence of such representations inspires the choreographic language which, like “glitch art”, is built from dysfunction and system error. These two portraits seek to measure a gap between reality and fantasy, physical body and lived body. Inevitably, the question of gender representation arises. Deeply rooted in a theatrical context, this work is not a simplistic satire on the representation of women. Rather, the fascination is focused on the construction of a multiple identity where the body moves according to different bipolarities. Desperately cliched, these figures embody the derision, the absurdity or even the nightmare of a normative representation (past?) happiness.